Category: Interview (linked)

Recent video and audio interviews with Ian David Moss, Research Director at Fractured Atlas, integrated national arts and culture pundit, and collaborating designer/project manager on the Bay Area Cultural Assets Map, supported by the William and Flora Hewlett Foundation, can be found here on the National Art Strategies website.

Interview material from AllNonProfitsConsidered can also be found at Createquity.com.

Computer viruses as a creative strategy? Pioneering digital artist Joseph Nechvatal believes they are. The Paris- and New York-based artist Nechvatal speaks with host Michael Rush about his decades-long experiments with images, music and the conflicting beauty and horror of “viral” interventions. His wide-ranging views stream seamlessly from Schopenhauer and Wagner to Cage and Burroughs (36 minutes).

Paula Levine is an artist, an associate professor at the San Francisco State University in Conceptual/Information Arts and just served a second term as a peer advisor for Almost Perfect, Banff New Media Institute.

Paula Levine is a visual artist focusing on experimental narrative and new forms of narrative spaces. Her research/art practice is in GPS technology, wireless, and remote devices. Paula has twenty years of experience in experimental documentary photography and video. Her current work looks at hidden dynamics as a way to develop new understandings about the nature of place. Her works have shown in video festivals, galleries, and museums worldwide.

Her recent installation, Signature, is inaugural work in the new Contemporary Project Space at the Sonoma County Museum in Santa Rosa, California. Signature is a contemporary portrait of seismic history as it intersects with local lives and landscape. The work uses GPS satellites to trigger the sound of the 1906 Bay area earthquake. The same overhead satellites also cause the surface of a projected digital image of Santa Rosa to rupture and reveal the hidden presence of the Rogers Creek Fault that runs directly through the centre of the city. The sound is converted from a selection of seismograph recordings of the 1906 quake. Santa Rosa was severely destroyed by the 1906 earthquake and subsequent fires. While the Rogers Creek Fault has been quiet for many years, current seismic research refocuses attention on it as a possible continuation of the more active Hayward Creek Fault, lying to the south of the city.

Signature is featured as part of a larger historical and geological exhibit called Force of Nature, commemorating the centennial of the Bay area earthquake and fire, focusing on the historical and current seismic impact, events, and geography of the greater Santa Rosa area.

Shadows from another place: San Francisco < -> Baghdad, a web/GPS/transposed geographies project, overlays the sites of bombs and missiles from the first U.S. invasion of Baghdad upon San Francisco. These sites are then identified and located with GPS coordinates, the same technology used to identify the Baghdad target sites, as well as maps and photographs. Through this transposition, the distance between foreign and domestic collapses as distant politics can be translated, visualized, and experienced in local terms.

Shadows has exhibited online in Transposing Geographies: Mapping on the Internet, Image Festival 2006, Toronto; in peripheries + proximties, HTMlles Festival – 7th edition, STUDIO XX, Montreal, Canada; and Labertinos – New Geographies. It was also featured in a paper Levine presented on transpositional geographies as part of the Mobile Narratives Panel at MIT4: The work of stories, a conference on narrative at the Massachusetts Institute of Technology, Cambridge, Massachusetts. Shadows from another place: San Francisco < -> Baghdad was one of the projects proposed for and developed at The Banff Centre as part of the IntraNation Residency in 2004. Paula presented a talk on transposed geographies focusing on current projects at ISEA, San Jose, California in August, 2006.

Recommended Locative Media projects by Paula Levine:
1. Christian Nold (http://www.softhook.com/ and http://biomapping.net/) Christian Nold maps physical spaces and the body within it combining GPS with Galvanic Skin Response, the latter used to indicate affective changes. Volunteers walk through various city spaces recording their movements and affective states along with their own written notations. All are combined to create compelling mapped portraits of place.

2. C5 – The Landscape Initiative 2001-06 (http://www.c5corp.com/projects/landscape/index.shtml, and also http://www.c5corp.com/venues/camerawork/index.shtml) C5 is an artist-research group. This project, The Landscape Initiative, focused on generating new landscape data, combining it with existing information and designing new models of visualizing results. Their research process of gathering data was physically carried out with members climbing Mt. Shasta, Mt. Whitney and Mt. Fuji, collecting data from walking along the Great Wall of China and doing an extensive motor cycle tour across the country. One of the projects coming from their investigations was called The Analogous Landscape: Rim of Fire project which was “to develop inferencing techniques for navigation of terrains of similar characteristic.”

Works that have resonance with and have influenced Paula Levine:
1. Kit Galloway and Sherrie Rabinowitz’s early research and work in satellite telecommunications and, in particular, their project “Hole in Space” (http://www.ecafe.com/getty/HIS/index.html) where they linked Lincoln Centre in NY and the Broadway department store in Los Angeles.

2. Amsterdam Realtime (http://realtime.waag.org/) and Esther Polak where volunteers carry gps devices that trace their movements through the city. Over time, the city becomes visible through the realtime movements of the bodies within it.

3. Morgan O’Hara whose Live Transmissions (http://www.morganohara.com/) are live drawn traces she made of movements of performers, dancers, speakers, musicians. However, her earlier work, a series of hand drawn maps tracing people’ movements through time and space. For some, it was a day; for others a year. Emerging often from conversations she had with them, she linked these individual reflections of the body in space and time to the history of portraiture. The connections between these portraits and later traces of movements from GPS devices is uncanny.

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During the following weeks until the official online launch of
CologneOFF – Cologne Online Film Festival
4th edition – “Here We Are!” – on 11 December 2008http://coff.newmediafest.org -
each week another couple of new interviews will be posted.

published recently some new interviews with the videoartists
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Beatrice Allegranti (UK), Paolo Bonfiglio (Italy)
Alessandro Brucini (Italy), Jon Keith Brunelle (USA)
Kenzie Burchell (UK)
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During the following weeks until the official online launch of
CologneOFF – Cologne Online Film Festival
4th edition – “Here We Are!” – on 11 December 2008http://coff.newmediafest.org -
each week another couple of new interviews will be posted.

Jeff Talman’s sound installations focus on notions of “self-reflexive resonance”, often using no other sound source than the natural ambient resonance of the installation site. His works also have a strong visual component, owing to his dual backgrounds in music and the visual arts. His latest work, “A Play of Flows” premiers on October 23, 2008 at the Galleria Mazzini in Genoa, Italy. Talman was awarded a Guggenheim Foundation Fellowship in Sound Art in 2006 and was a recipient of the New York Foundation for the Arts Award in Computer Arts in 2003. He currently resides in Manhattan.

Due to the nature of his pieces, Talman does not provide sound samples on his website – the pieces are simply too site-specific to experience in any other way than first-hand. As such, we will only be providing photos and discussion with this interview.

Peter Traub: Before you began creating sound installations in the mid 1990s, you were a more ‘traditional’ computer music composer and musician. Could you discuss how you made the transition into sound installation work? Was there a particular experience of a space or place that pushed you in this new direction?

Jeff Talman: First, let me thank you very much for your interest in my work and this opportunity to go into your well-thought through questions. Many thanks also to Networked Music Review and Helen Thorington and Jo-Anne Green. I’ve found that interviews can really help tremendously because they put me as an artist outside of myself, so new or different slants to the work may become available. It’s is a very welcome kind of refreshment. Read more: http://tinyurl.com/5hqygw

Sukran Moral (Terme, Turkey) she’s an artist who works between Istanbul and Rome. She’s specialized in works which illustrate the condition of women in Turkey, dealing with issues of social exclusion, justice and religion. She made artistic video-documentaries about people who live on the margins of society such as transsexuals, prostitutes, mentally ills, immigrants. In a brothel in Istanbul, where access is forbidden to women, she has achieved a performance in which she controversially renamed that place as “Modern Art Museum”; In the Laboratory Museum of Contemporary Art of Sapienza – University of Rome – in 1997 she achieved a performance entitled “Museum & Mortuary”, a museum turned into mortuary. Other works have been carried out at the female asylum, and in the turkish bathroom of Galatasaray in the male section, both in Istanbul. She has participated in numerous exhibitions, fairs and international festivals, in 1997 even to 5° International Istanbul Biennial.

Adam Nash is a new media artist, composer, programmer, performer and writer. He works primarily in networked real-time 3D spaces, exploring them as live audiovisual performance spaces. His sound/composition and performance background strongly informs his approach to creating works for virtual environments, embracing sound, time and the user as elements equal in importance to visionâ€¦

Over the course of four days in June 1976, while open to the public, six large plants in the center of the glass Plant Conservatory in San Franciscoâ€™s Golden Gate Park, produced an audible, live digital music score, based on bio-electric sensing of their responses to light, temperature, movement and other physio-environmental factors (using gold needle electrodes at the base of the stem and root). Amid the â€˜tropical gardenâ€™ stood a five foot high rack of audio and digital processing systems, including the just purchased, Altair 8800, which John was constantly (re)programming in Machine Languageâ€¦

BliK an interactive installation and networked musical composition method based on collaborative â€œWeb 2.0â€³ principles. The composer / participant types directives / keywords – referencing one of the LEMUR ModBots – into a blog post to create a musical score. The LEMUR ModBots are a set of single-function percussive bots that work as a percussion ensemble…

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